VESPERASETH (BRA) – Nebro, 2022 🇬🇧


Versión en español

If from the depths of the minds of Lovecraft, Allan Poe, Stephen King or Mary Shelly came the great icons of horror literature, VESPERASETH has transported them to the musical realm with the subgenre that most closely matches the chills and darkness: symphonic death, with their album Nebro.

These Brazilians were formed in 2013 in the region of Campinas, having released two previous works:  Requiem in 2016, and Spectrophobia in 2019. In all the works we can see an omnipresent influence on the gothic and horror literature of the 19th and 20th centuries, which is easy to deduce when we see titles of themes such as «Abdul Alhazred«, «Hastur«, «Azathoth» or the famous «Necronomicon«, which would almost serve as a list of the little creatures of the North American author as if it were the list of the Gothic Kings.

Regardless of how tired I may be of the allusions to Lovecraft and his world in popular culture, the choice of atmospheres and the orchestral and melodic arrangements in each track seem to me to be very appropriate and fit perfectly with the personality of the creature to whom they dedicate the cut. Thus, in «Abdul Alhazred» the Arabic component is the predominant one, although in «Dagon» they tend to look for the darkness of the bottom of the sea. In short, you have to get a little cosmic terror to catch all the nuances of the compositions.

Despite the fact that VESPERASETH label themselves as a symphonic doom/death band, I’d rather see them as a symphonic death band, as I miss the soothing and leaden riffs that are poured over the chest of doom. In fact, the riffs of «Hastur» could almost be in the setlist of any «Try not to headbang» video challenge. The only track that left me with more of a doomer aftertaste was «Asphodel«, albeit only in the first and last bars of its ten-minute duration.

As a good death band, there are a lot of blast beats and gutturals, but it is true that on many occasions throughout the album they give way to melodic parts in which the lead guitar takes the reins and shows all its expressiveness with a considerable lowering of revolutions. Although it may seem that the change is abrupt and it may make you doubt that it is poorly paced, it arrives just when the song asks for it, as well as the return to the unrestraint.

Nebro is a good symphonic death album, especially for those who also love Lovecraftian tales.

Translated by Irene López